Paul Serotsky writes at MusicWeb International: "For Dmitri Shostakovich, 1953 to about 1960 was a period of relative prosperity and security: with Stalin's death a great curtain of fear had been lifted. Shostakovich was gradually restored to favour, allowed to earn a living, and even honoured, though there was a price . . . co-operation (at least ostensibly) with the authorities. The peak of this 'thaw', in 1956 when large numbers of 'rehabilitated' intellectuals were released, coincided with the composition of the effervescent Second Piano Concerto. Shostakovich's son, Maxim, gave the concerto its first performance on 10th May 1957, Maxim's 19th birthday. Shostakovich must have intended all along that this would be a 'birthday present' - for, while the composer remained covertly dissident (the Eleventh Symphony was just around the corner), the piano concerto is utterly devoid of all subterfuge, cryptic codes and hidden messages. Instead, it brims with youthful vigour, vitality, romance - and such sheer mischief that it may even have been a 'character study' of Maxim." Watch a performance of the first movement of Shostakovich’s Piano Conc. No. 2 (1957) with pianist Kirill Gerstein and the NHK Symphony Orchestra, Charles Dutoit, conducting . . . one of this week's FEATURED NEW MUSIC VIDEOS.

Identity has always been at the center of Gabriela Lena Frank's music. Born in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. She has traveled extensively throughout South America and her pieces reflect and refract her studies of Latin-American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own. She writes challenging idiomatic parts for solo instrumentalists, vocalists, chamber ensembles, and orchestras. Moreover, Frank writes, "There's usually a story line behind my music; a scenario or character". Watch an interview of Gabriela Lena Frank with Frank J. Oteri (thanks to NewMusicBox) Composite Identity (NewMusicBox) . . . it's our COMPOSER PORTRAIT for the week.

Disillusioned by many aspects of the classical music establishment, Steve Martland has forged his own path, employing what he finds of value in the classical tradition, but also incorporating elements of jazz, folk, and rock into his energetic, dynamic music. He is also an active force in the field of music instruction, and has not been shy about speaking his mind on political issues. He worked with composer Louis Andriessen, whose music, combining minimalism and popular music styles, became something of a model for Martland when he was a young composer. He also studied with Gunther Schuller at the Berkshire Music Center as a composition fellow in 1984. Listen to a performance of Steve Martland’s Beat The Retreat (1995) . . . one of our PYTHEAS EARFULS this week.

The Concerto Macabre (1944/1972) from the film Hangover Square (1944) is Bernard Herrmann's only venture into film piano concertos. The film starred Laird Cregar as a mad composer who went on killing sprees whenever he heard loud noise. Through the concerto Herrmann generates a haunting impression of loneliness and death, and the work is a rare example of a piano concerto ending with just the solo piano. Hear a performance of the Concerto Macabre with pianist David Beuchner and the New Zealand Symphony Orchestra, with James Sedares conducting . . . this week's FROM THE PYTHEAS ARCHIVES.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music